TIX INFO: http://www.guildhall.org/events/?id=1071&mode=id
Here's our conversation with actor, sound designer, Eric Svedsen:
What was your first impression of Extinction when you first read it?
My first
impression of EXTINCTION was that it was brutally funny. There are some
elements of the friendship between Finn and Max that seem very familiar, and
not far off from those of Swingers, Sideways, etc., where the tension
and dissonance of the friendship lies in the difference between one character
who can coast through life more or less effortlessly, while the other, more
aesthete, dorky character is underappreciated, although the audience sides with
him. However, this play goes significantly deeper in it's examination of
those characters and the beliefs and attitudes that shape them and motivate the
actions that transpire. It isn't just humor, although it has plenty of
that; it also strikes a chord in a dark place.
When did you first work with Barefoot Theatre Company and why do you feel Extinction speaks to the company's mission and aesthetic?
When did you first work with Barefoot Theatre Company and why do you feel Extinction speaks to the company's mission and aesthetic?
I first
worked with Barefoot Theatre Company, more or less officially, at the bareNaked
Reading Series in Los Angeles last summer. That said, Francisco Solorzano is
an old friend from Lyle Kessler's Master Class, which was precisely the scene
study class where Brynne Kraynak, our brilliant cast member brought EXTINCTION
to Sawyer Spielberg and me, and eventually the three of us, as well as the
incredibly talented Raye Levine, started working on it in. In addition to
Raye being an established Barefoot member, Barefoot certainly felt like a fit
because of the actors, writers and directors who've committed to this sort of
material -- the experience of finding writing that you connect with and surrounding
it with people you genuinely love working with to make it happen.
Tell us a little bit about your role(s) in the production.
Tell us a little bit about your role(s) in the production.
My role in
the production is that of Max Emerson, the dark, throbbing, soulless id of the
play. He is the embodiment of bravado masking sadness; a deeply flawed
character who you would potentially kill an orphan to hang out with for just
one night. I also designed the sound.
Can you share with us the challenges and excitement of wearing more than one hat on a production? How did you approach sound design and do you think being an actor in the production helped with your choices? If so, how so.
Can you share with us the challenges and excitement of wearing more than one hat on a production? How did you approach sound design and do you think being an actor in the production helped with your choices? If so, how so.
In terms of
wearing multiple hats on this production, I think it made us question at many
stages why we didn't simply focus on one role and delegate everything to
someone else. I think the answer was that we've all developed such a deep
infatuation not just for the play, but for each other. Something I hope
to never get suckered into again. Seriously, though, it has been
incredible to be essentially sequestered together in East Hampton and to be
able to live every element of this play together. In terms of sound
design, the friendship between Finn and Max is deeply rooted in a love for the
music of the 90's, specifically the Pixies. For a guy like me, you don't
have to reach far to access a love for 90's indie music. It's always been
ingrained, and was a major element that drew me to this play. Getting to
design the sound was something I'd have knocked someone's teeth out to be able
to do.
Are there any memorable moments you can share from rehearsal that supported your process or created an exciting challenge?
Are there any memorable moments you can share from rehearsal that supported your process or created an exciting challenge?
There have
been many challenging moments in rehearsals, most frequently being those where
Josh Gladstone, our brilliant director, has forced me to explore my upper
register, most notably in scenes involving my character's incredulity regarding
nudity regulations of Atlantic City strip clubs. I believe Sawyer and
Josh would attest that I've found new notes.
What would you say are some of the universal themes of the play? What will audience take away from the evening/experience?
What would you say are some of the universal themes of the play? What will audience take away from the evening/experience?
I believe
that the universal themes of the play are the give and take that occurs in the
inherent transactional nature of any friendship. We want to believe our
motives are pure, but there is almost always a need satisfied in these
relationships - what happens when that need is no longer met on either or both
ends? How much are you willing to give when you feel you aren't getting enough
in return? Fear of moving on, fear of staying in the same place, growing
old and irrelevant, love of a shared bond and the realization that it might no
longer exist, and whether or not a life full of good times equates to or is at
odds with a fulfilling life, and how best we go about propagating our
species. Hopefully the audience will enjoy an abundance of belly churning
laughs laced with a deeply conscious feeling of self-referential disgust for
months, if not weeks, afterward.
Now more than ever, why is theater vital and the art of collaboration?
Now more than ever, why is theater vital and the art of collaboration?
Now, more than ever, we have
the ability to communicate and form ideas freely - and it should be free
from fear on all sides. The expression of humor, satire, obscenity, the
art of collaboration and theater have always been tools and weapons if employed
correctly. Let's use that shit and use it right.
Hometown?
My hometown is Sunfish Lake, MN.
My hometown is Sunfish Lake, MN.
When did you arrive in NYC? And where do you call home now:
I first arrived in NYC in
August of 2013. I am currently a nomad roaming the earth between Los
Angeles and New York, I hope to once again call New York home permanently after
the run of this play.
Favorite theater going experience.
My favorite theater going
experience was an original production at Northwestern University's Shanley
Pavilion called Guru: The Allen Ginsberg Project by Andy Fife.
Eric Svendsen studied theatre at Northwestern University. He's been involved
with productions at Rogue Machine Theater Company in Los Angeles and Naked
Angels in New York. His Credits include starring roles in Auto Parts in Los
Angeles as well as A Child's Christmas in Wales by Dylan Thomas at the Actor's
Chapel and the award-winning original performance of Sailorboy by Neville
Elder.
Guild Hall and Where Are They Going Theatre Group in association with Barefoot Theatre Company
present EXTINCTION by Gabe McKinley
March 30 through April 16
Wednesdays – Sundays at 7pm
PLUS 2pm matinees on April 8 and April 15
Directed by Josh Gladstone
Starring Brynne Kraynak, Raye Levine, Sawyer Spielberg
and Eric Svendsen
Two college buddies’ annual outing of male-bonding and debauchery veers precipitously off course when unmet expectations spiral into a volatile showdown. A darkly funny drama exploring the evolution of friendships – and the lengths to which we go to save them from falling into extinction.
Please note that this play includes graphic language and mature subject matter.
General Admission $25 ($23 Guild Hall Members)
$15 Students under 18
Production Team:
Set Designer – Raye Levine
Lighting Designer – Sebastian Paczynski
Stage Manager – Tyler Winthrop
Producer – Sawyer Spielberg
PR – Leah Lane
